“a notea voice, screamsa batterysounds, grating noise, scratcheshere it startsMusic, musicYou who shudderWho makes you dance, singWho moves the buttand now begins Humming Dogs” - Florence Decourcelle, Humming DogsAn absolute pleasure to present ‘Les Borigènes’ - the first LP from France’s Humming Dogs. Born from the radical ‘Oiseau Mouche’ (Bird-Fly Company) - a troupe of actors and comedians who focus on the theatre of gesture - Humming Dogs make joyful, avant rock music, which pooh poohs the po-faced in favour of a party.Humming Dogs are made up of eight members - David Bausseron, Mathieu Breuvard, Florence Decourcelle, Thierry Dupont, Chantal Esso, Léa Le Bars, Florian Spiry, and Valérie Waroquier, who each write and create songs, swap instruments and sing collectively. Guitars, bass, drum kit, and keyboards mix with toy percussion, amplified pine cones, pot lids, iPads, a zither and an arsenal of effects. ‘Ha Ha Ha’ opens the record with the group dispersed and growling at one another, only to break out in infectious laughter, a free word riot and a thick bass melody. The traditional French song, ‘Karnaval’, gets totally sent by keyboards and a slung low guitar scrawl, egged on by the bands hooting and hollering. ‘Ça Me Gratte’ haunts and grates until it splits with a rising synthesizer and squeaking Bonios. The spitting, itching, near exhausted vocals from Chantel Esso are unlike much else we've heard.‘Les Borigènes’ contains the self taught, simple charm of the Shaggs ‘Philosophy of the World’, performed in the spirit of village revelry and recorded and edited beautifully in the tradition of the GRM. Democratized experimentation, low ego rock’n’roll - Les Borigènes is a truly joyous, remarkable and wild record. It arrives in an edition of 500 140g black vinyl LPs, with artwork from London’s Submit to Love Studios and Taylor Silk.Humming Dogs have performed at Sonic Protest, Cafe OTO, and Counterflows.

Yes, indeed! The emphatic duo of Laurie Tompkins and Otto Willberg return for their third release, ‘Rotten Luck’ - a record we fell in love with watching the two of them gleefully headbanging in time, shrouded in the much beloved fog of Spanners club.Their first LP ‘Exorcise’, clobbered those that dared drop the needle with a brand of shrieking dadaism that lay impermeable but to the insane. It freaked us out, that cacophony soup. On ‘Rotten Luck’ - their funkiest number yet - there are tunes instead, good ones, meaty ones, soaked in bass riffs and lairy lyrics. There are hooks to grip on to and little silly grins to catch in the gloaming synth holds.Around the time of Yes Indeed's last release I was listening to a lot of Blue Gene Tyranny, working in the shop and selling loads of copies of the boxset that sadly marked his death. Listening to Willberg's squelching synth slap on ‘Our Dads’, I’m reminded of Blue Gene’s ‘Any Fine Afternoon' - a goofy kind of song whose bass line caused me to listen to the whole Theme Hospital soundtrack in earnest appreciation. ‘Awe’ on ‘Rotten Luck’ has a kind of Dreamtime energy to it, it’s jazzy double bass laced with wavy keys. It would seem I wasn’t the only one listening to the boxset.Primarily a composer, Laurie Tompkins is one third of the energy behind pop mulchers Slip. In the year between Yes Indeed releases, Tompkins has done 3 more CDs (33–33, Entrac’te and Hyperdelia), in a marvellous flurry of productiveness. Otto Willberg is bass player in Ray (alongside Ashley Paul and Yoni Silver) and Historically Fucked - a band who make songs as quick as they can and tear them down even faster. The mutual ground between the two is rich then, in pop, rock and the nonsensical. On ‘Rotten Luck’ it seems at its most fertile. Weirdness isn’t a mask - it’s not self conscious. It’s headbanging without realising it, slaying your arranged oddities with your mate, grinning the whole time and giving that out generously.  Extra samples on 5 by Gwilly EdmondezSax and melodica on 8 and 10 by Sam AndreaeMusic by Laurie Tompkins & Otto WillbergMastered by Mark KlonArtwork by FridgeLayout by Carey Alborough

First LP from Donna Candy, the bass-vocal-drums trio trawled from the sub genres of experimental rock and busy pushing to the front of heavy music. Nu metal bass riffs, switch-pitched fuzz vocals and big, splashy drums layer over unsettling narratives and extreme loops to bring a bit of the pit to the dancefloor.Begun as an off the cuff party band with the idea of finding a live sound that would fit between 4am trance sets, the trio soon found themselves addicted to the euphoric sludge they created. Swapping their usual guitar for a bass, JS Donny drives Donna Candy with simple riffs, split half clean and half shredded with Boris / Sunn O))) like distortion. Head-banging the whole way, they’ll switch speed or stop suddenly, bending and drawing out notes to ratchet things up for release. Nadja's vocals tear through the top layer - heavily processed and warped with weird imagery. Together there’s a feeling of what it might be like to see Sightings slowed by codeine but with Elvin Brandi on the mic.Always set up facing each other, off stage and surrounded by the audience, Donna Candy encourage catharsis - reciprocally transforming energy between themselves and the crowd. They build a queer euphoria that pulls apart metal’s narrow dichotomy of nihilistic machismo vs. hyperfemininity, and begins to make the visceral faux-hybridity of nineties nu metal feel possible this time around. ‘Blooming’ brings us six offerings from the band on a four way split release that speaks for itself - once on board with the DC energy you’ll want to be a part of it.  --- Music by Donna Candy Alex (drums), Js Donny (bass), Nadja Meier (vocal) Produced and recorded by Anotine Nouel at Sound Love Studio, Grrrnd Zero (Lyon) Mixed by Anotine Nouel and Js Donny. Mastered by A.P. Mastering and Post.

One more to round out what has been a very busy year for Mole. "Nothing had been heard for some time now...not a sound, and the animals had fallen into a deep sleep. The dishes were done, the fire burnt out. There sat an unfinished puzzle on the dining table, a messy pile of scrawled poems on the sideboard and a partially enjoyed novel strewn over the arm of a chair. Yet in all of this quiet, a faint rumble and clatter began to sound. Not one of mechanical origin but certainly something moving closer...and most certainly in a hurry…" --- All music by The SprigsImages by Beverley GoodingInspired by Kenneth Graham’s ‘The Wind in the Willows’Introductory text by The SprigsAdditional text by Wesley Knowler included in cassette version.

The latest chapter in the unfolding musical story of Bill Wells finds the Scottish jazz outsider’s compositions played by a trio of tuba players with contributions from young brass players from his adopted hometown of Glasgow.The results, The Viaduct Tuba Trio Plays The Music Of Bill Wells, are alternately ruminative, playful and profound, ranging from the cyclical opener Fanfare For Three Tubas to a mischievous interpretation of The Midges, a comic tribute to the entomological scourge of the Highlands by Scottish singer Kenneth McKellar, and the doleful Chorale 4K before the arresting finale of Stone Throw Dream Anthem. Throughout the record you are reminded of both the power and tenderness of brass instruments – their capacity to astound and reassure, to soothe and tickle.The trio in the title – Antony Hook, Danielle Price and Mark Reynolds – formed in 2018 to perform in the lee of the Glenfinnan Viaduct as part of the Loch Shiel Festival. Built on the West Highland Line and opened in 1901, the 21-span viaduct is nowadays best known for its appearance carrying the Hogwarts Express. Wells contributed three tunes for the performance, including Fanfare For Three Tubas, and composed the remainder after being commissioned by Glasgow’s underground/experimental festival Counterflows as a direct result of the Glenfinnan Viaduct performance. The trio subsequently performed Wells’ tunes in Glasgow with the Gorbals Youth Brass Band, who play on three of the album’s 10 tracks, sharing a bill with a duo featuring Chicago composer, flautist and educator Nicole Mitchell and London-based percussionist Mark Sanders. The Viaduct Tuba Trio Plays The Music Of Bill Wells represents another creative achievement for the prolific composer and multi-instrumentalist, whose output in recent years includes an album for an Estonian indie label (Remixes For Seksound, 2018), the eponymous debut LP by The Sensory Illusions, his guitar-and-tuba duo with Danielle Price (Karaoke Kalk, 2019), and Standards Vol V by his mischievously titled National Jazz Trio of Scotland (Karaoke Kalk, 2019), featuring the voice of Gerard Black (Rozi Plain, Charlotte Gainsbourg, Francois and the Atlas Mountains).Prior to these Bill collaborated with artists including Yo La Tengo, Amy Allison and Syd Straw on Nursery Rhymes (Karaoke Kalk, 2015) and Aidan Moffat on Everything’s Getting Older (2011) and The Most Important Place In The World (2015), both on Chemikal Underground. He has also recorded albums with Jad Fair, Maher Halal Hash Baz and Stefan Schneider of To Rococo Rot among others.The Viaduct Tuba TrioMark Reynolds studied in Glasgow and Munich. During his time there he performed with, among others, the Munich Philharmonic, Bavarian Radio Orchestra, Bavarian State Opera and the Munich Symphony Orchestra. In 2001, he was appointed principal Tuba of the Royal Philharmonic of Flanders, Belgium and became a founder member of the Ottone Brass Quintet. He has frequently performed as a soloist including performances of the Vaughan Williams Tuba Concerto with the Royal Philharmonic of Flanders and the Royal Scottish National Orchestra.Rising star Antony Hook was Loch Shiel Festival’s Young Artist for 2018 and currently studies at the Guildhall School of Music and Drama.Supported by the Countess of Munster Trust, Danielle Price studied at the Royal Conservatoire of Scotland and graduated with distinction from the Master of Music Course in 2013. She has since enjoyed a versatile career playing in a range of projects and ensembles including Pure Brass Quintet, The Sensory Illusions, Dopey Monkey, Red Note Ensemble, The Old Fountain Jazz Orchestra, New Antonine Brass Quintet (current Live Music Now Scotland artists) besides traditional jazz ensembles The Copper Cats and The Red Hot Rhythm Makers. She has also performed in the bands of Bill Wells and Aidan Moffat, Ashley Paul, Bella Hardy and Oxbow, and as an extra musician with the BBC Scottish Symphony Orchestra and Royal Scottish National Orchestra.The Gorbals Youth Brass BandThe band was formed in 2012 in Glasgow to offer local children free instrumental tuition. Each child is provided with a brass instrument and attends weekly lessons and rehearsals. GYBB also attend competitions, masterclasses and concerts.    The Viaduct Tuba Trio Plays The Music Of Bill Wells was recorded at Castle of Doom studios in Glasgow by Tony Doogan, mixed by Bill at Loathsome Reels and mastered by Norman Blake of Teenage Fanclub. The cover art is by longtime collaborator Annabel Wright.

"Fast Edit is the second LP by Still House Plants, the Glasgow and South London-based three-piece collective made up of Finlay Clark, David Kennedy, and Jessica Hickie-Kallenbach. Written aided by mobile phones, dictaphones, laptop recordings of rehearsals, conversations and live shows, Fast Edit is a collage of different fidelities and headspaces, most tenderly exhibited on album centrepiece “Shy Song”. Overlays of past and current sit things on top of each other, fall over one another, get stuck, predicate. Fitting now, but reflective of a period doing shows in South America.The sentiment of the record is probably best described in part of an intervention written for what would have been the 2020 edition of Glasgow's Counterflows Festival by Frances Morgan:"Getting used to the idea of never getting anywhere except for between these three notes, these two words, getting tired, getting beyond it, getting locked in. Trying to get it down, trying to get it written. Like the song that didn’t get anywhere: it still moves, it doesn’t move.It is getting to you that this is heaviest verb to get across. Loaded and overloaded. Getting as in becoming, as in acquiring, as in catching, as in having, as in receiving, as in changing, as in arriving, as in moving through and over, it’s the same....How do you think we should do this. The song does something different now, puts the other foot forward. How do you know when it’s done. End on a verb and it becomes a command: run! Towards the next thing. Do – towards the next thing to be done.What have you been doing today, a day with nothing doing: watching a nesting falcon on a webcam, what’s it going to do. Googling the appropriate prayer, what does it say you should do. Bouncing the sticks off the snare, what does the sound do. How are we all doing. Doing, never done. Listening, never done."www.counterflows.com/intervention-one/     ---   Recorded & mixed by Shaun Crook and Darren Clark at Lockdown Studios, London. Mastered and cut by Helmut Erler at Dubplates and Mastering.Typeface by Still House Plants, layout by Maja LarrsonProduced in partnership with Blank Forms, New YorkBlank Forms Editions 013BIS005

It Changes is a new album by Ailie Ormston and Tim Fraser. It incorporates samples of collaborative session material, automated MIDI instrumentation, and adhoc field recordings. Music from this album was first presented in 2019 as a larger audio-visual work which debuted at the Centre for Contemporary Arts in Glasgow as part of Counterflows festival. The recordings were then completed in 2020 during the first lockdown using voice notes, and by running a 7.5m headphone cable between their neighbouring flats. The album’s title It Changes is taken from a Sherman Brothers song of the same name, written for the animated film Snoopy Come Home. It mirrors themes of alienation and attachment associated with Peanuts characters, and looks at modern individualist and consumerist ideas of desire and liberation. It uses the 1992 UK Clubland anthem Only Love Can Set You Free by N-Trance as a central motif, noting the last three decades of neoliberal policies and affected culture. References to the decline of the welfare state and increased surveillance are contrasted with sincere messages of love and resistance.

  “Urs Graf Consort, a collective with a corrupted genealogy, produce trail-blazing simulacra - songs nested within themselves, with the experimental accents of Ursonate. A protean duo operates under the name of Swiss engraver Urs Graf (1485 - c. 1529); Prune Bécheau and Adrien Bardi-Bienenstock are composers and performers for ensembles that are as varied as the motley company brought together in The Peasants War which Urs Graf depicted; Uva Ursi captures on-the-spot at acoustic vigils on the edge of amplified battlefields. Baroque violin, vièle-à-trou, bass, arranged drums, a broad spectrum of vocals, tuba, trumpet, synthesizer, spinet, sanza, shakers, bells and rattles... are all played in different concerts by: Simon Sieger, Mathias Pontévia, Jœl Grip, Samuel Burjade, Sam Langer, Paul Ferbos, Pierre Borel, Adrien Perron, Rachel Ramos, Emmanuel LeGlatin, Mathieu Cahuzac, Camille Émaille, Gabriel Bristow, Antoine Hummel, Makoto Sato, Arden Day, Olivia Scemama, Pascal Sieger, Geoffroy Gesser, Malgorzata Kasprzycka, Gwladys Le Cuff, and many others. The sheer number and differing degrees of participation by these musicians and their voices avoids genre - from passionate, rasping dialogues and the slow sedimentary effort of building the composition, to the use of six languages in various arrangements and surprise oral interventions. The same applies to the modes of recording, whether in the studio, live or by integrating direct sound recordings.The compositions on Uva Ursi - or bearberry, a medicinal mountain plant with small white flowers - confound expectations and established standards and attain new forms of interplay between Italian variety, free jazz, cabaret, instrumental theatre, Lettrist recitation, the disruptive intensities of improvisation and noise, and walrus songs. These disjunctive synthesis do not exclude humming or toe-tapping either, even though they may initially seem untenable as a whole: the airs are captivating but any dancing only arrives in passing, and either gets bogged down by weird meter or catches a chill from deceptive disintegrations and globbed down by macabre sounds.” Gwladys Le Cuff  --- Adrien Bardi Bienenstock : french, italian, spanish, danish, bassesPrune Bécheau : baroque violin, synthesizer, piano, organ, mandolin, french, german, danish Simon Sieger : trombone, accordeon, tuba, radiator, danish, frenchMathias Pontévia : drums (on pair tracks, except track 8)Joel Grip : double bass, danish, swedishSamuel Burjade : drums (on impair tracks)Sam Langer : electric guitarPaul Ferbos : spinetPierre Borel : saxophoneAdrien Perron : zarbRachel Ramos : pandeiro, bell, shakersEmmanuel Le Glatin : acoustic guitarMathieu Cahuzac : congasGwladys Le Cuff : Apocalypsis NovaEnregistré au Tuquet en Dordogne, à Ste Foy La Grande en Gironde, à Euphonia et au 51 rue du petit puits à Marseille. Tecnici di registrazione e mix : Loïc Lachaize, Prune Bécheau e Adrien Bardi BienenstockMastering : Loïc Lachaize and Jan Vysocky.Ooro hihi : frontière ronflanteHülle : Prune Bécheau und Adrien Bichon BardiGrafik : Maja LarssonEnglish translations : Sam Langer & Patrick DahnThanks for the technical support (and more) of Thomas Pujols, Samuel Burjade, Eloïse Burjade, Emmanuel Le Glatin, Mathias Pontevia

O Yama O return with their first full length LP since 2018’s self titled debut. Galo finds the duo of sculptor Rie Nakajima and vocalist Keiko Yamamoto firmly enmeshed alongside percussionist Marie Roux and violin player and visual artist Billy Steiger as a band, their project this time a proper four way entanglement - or five when you include the record’s powerhouse producer David Cunningham. Known perhaps already for their exploration of folkloric Japan and the ‘domestic and democratic quality of everyday life’, part of the magic of O Yama O comes from the conjuring of atmospheres from the smallest of elements. On Galo, Nakajima’s object orchestra is accompanied by bird callers, kalimbas, the koto, a Pierre Berthet ‘sounding hat’, and one of those plastic whirly tubes which produce a surprisingly agreeable warbling, especially in the hands of Roux. Together their sound recalls the far out sonorities of Anton Bruhin’s Vom Goldabfischer, (also a fan of a PVC tube, which he fixed with a reed and called a ch-pon), and maps out a hopeful landscape for genuinely experimental folk music; a slippery exploration of customs, routines, storytelling and disparate influences. The sketches of O Yama O’s earlier work arrive on Galo as tunes rich with melody, alongside the occasional song - fleshed out, but totally surreal - forming as naturally as a cloud and dispersing fresh clarity next morning. Though miraculously recorded in multiple parts and online between London, Devon, Luzern and Fukouka, Galo has a fair view of Albion at its window. The recorder and violin led ‘Harvest Dance’ draws from Weird Walk material, though Steiger’s folk melody and Cunningham’s production are anything but purely bucolic. Perhaps it’s this that makes us think of folk music. Or maybe it’s the group's particular language, which seems at once familiar and yet also totally alien. Yamamoto says of the group’s practice that “listening becomes talking, talking becomes hearing, hearing becomes singing, singing becomes silence and silence becomes sculpture." It’s a simple process, yet rich with reward - a searching kind of structure which finds room for each listener.  KEIKO YAMAMOTO - voice, percussion, recorder, bird callers, clay bird whistle, kalimba, lyre RIE NAKAJIMA - objects, sculpture, piano, harmonica, koto, whistle, percussion, water MARIE ROUX - drums, percussion, guitar, wind tube, whistle, Berthet sounding hat, thumb piano BILLY STEIGER - violin, piano

First full length LP from Still House Plants. "Combining visual strategies, free improvisation, UK garage and punk, Still House Plants build melodic hierarchies scaffolded around ambiguities and intimacy. Fresh from being selected for the OTO Projects UK Artists Fund, and following two sold out tapes on Glasgow label GLARC, the trio’s debut LP 'Long Play' collects their group's raw guitar-drum-vocal palette and stretches it to include violin, piano and intimate home recording. Ranging from seconds-long to seven:minute:somethings, the album coagulates to form a heady meld of rudimentary phrases, kinetic repetition and malleable samples. Experimental songwriting is rarely so forthcoming, emotive, or approachable." "A genuinely challenging and beautiful album." - Stewart Smith --- Jessica Hickie-Kallenbach / vocals Finlay Clark / guitar, piano, violin David Kennedy / drums --- Recorded by Ronan Fay at Green Door Studios, Glasgow, April 2018. Mixed by Ronan Fay. Mastered by Katie Tavini. Artwork by Still House Plants.

New album on bison from Kumio Kurachi, whos only performance outside of Japan was here back in 2009. "After 11 albums and unknown quantities of cassettes, compilations and split releases, Sound of Turning Earth is the first release outside of Japan for one of the most original figures in Japanese music, Kumio Kurachi. Recorded by Jim O’Rourke at his home studio, Sound of Turning Earth is Kurachi solo on vocals and guitar, mixing surreal lyrics and theatrical vocal personas with unorthodox tunings inspired by Japan’s national instrument, the koto. Lyrically Kurachi draws life from the small events of life, the hira, - the joy of choosing a lipstick in springtime, the business of changing the tatami, raindrops deciding whether to fall as snow. Set to his own brand of progressive folk in the Hirajōshi scale and laced with winding melodies which can be hard to forget, Kurachi maps his own territory for the people who inhabit his everyday. As much a visual artist as a musician, we are pleased to present Sound of Turning Earth in the form of a deluxe CD accompanied by new artwork by Kurachi and full translation of his poetic lyrics. These striking songs speak for a liberated imagination." “The music is so melodious that the mixture of the strange wording, guitar and variations of voices thrives all together and it can haunt you without noticing it, just like the small events of everyday life you can't escape from." - Midori Ogata  --- All songs written by Kumio Kurachi Guitars and vocals by Kumio Kurachi Recorded and mixed by Jim O'Rourke Mastered by Daichi Tokunaga (PLUM) Translation by Midori Ogata Design by Maja Larrson Special thanks to Midori Ogata --- Kumio Kurachi has performed actively in Japan since the 80's, and still plays shows in Fukuoka regularly. Past collaborators include Taku Unami and Tatsuhisa Yamamoto. He has played with Tenniscoats, Kazuhisa Uchihashi, Katsura Yamauchi, Tori Kudo, Jim O'Rourke and Eiko Ishibashi."